Ceramics industry

“ Nearly the whole gamut of the spectrum is now available to the architect who wishes to employ ceramics. The colors do not change or fade, and possess a beautiful quality. Our craftsmen and manufacturers of face-brick, terra-cotta, and colored tile, after much costly experimentation, have succeeded in producing ceramics of a high order of excellence and intrinsic beauty; they can do practically anything demanded of them; but from that quarter where they should reap the greatest commercial advantage—the field of architecture—there is all too little demand. ”

“ The literature of English ceramics is rapidly becoming like many of the editions of Shakespeare, where a few lines of text stand as an oasis in a desert of commentators' controversial opinions.
It is, therefore, refreshing to find, as one does undoubtedly find in Staffordshire salt-glazed ware, one of the most remarkable and original outbursts in English art pottery that has taken place. This delicate stoneware is as thin as some of the Oriental porcelain, and possesses a grace and symmetry peculiarly its own. In some of its decorations it bears a likeness to Chinese work. ”

“ This place would be taken, in such a collection, by a series of small bowls and jars mostly of a dark-coloured earthenware, which offer little to attract a European eye. On the other hand, a Western collector of Japanese ceramics would be likely to find more to interest him in the decorated fayence of which the kilns of Kioto and Satsuma have furnished the most exquisite examples. And yet, perhaps, in no country, not even in China, do we find porcelain, and that of a high technical quality, so largely employed for domestic use. ”

“ A more significant effect of Oriental porcelain on British ceramics was the revolution it inspired in the production of everyday earthenware. From the early eighteenth century, British potters had sought to develop a smooth white-bodied earthenware that could be made from local clays to compete with the imported blue-and-white. ”

“ Now as to certain general considerations in relation to the appropriate and logical use of ceramics in the construction and adornment of buildings, exterior and interior. In our northern latitudes care should be taken that ceramics are not used in places and in ways where the accumulation of snow and ice render the joints subject to alternate freezing and thawing, for in such case, unless the joints are protected with metal, the units will work loose in time. ”

“ To understand the important influence of this aristocratic patronage upon the scattered kilns of Japan (only a few of these, indeed, produced porcelain) , I cannot do better than quote the words of Captain Brinkley, perhaps our first authority on Japanese ceramics: ‘During the two centuries that represent the golden age of Japanese ceramic art, that is to say, from 1645 to 1845, every factory of any importance was under the direct patronage either of the nobleman in whose fief it lay, or of some wealthy amateur whose whole business in life was comprised in the cultivation of the Cha-no-yu. ”

“ The progressive improvements in the manufacture of Porcelain and Earthenware, during the last thirty years, have raised this art to an eminence which it never reached before in the British Empire; and, perhaps, in no department of art has scientific research and experiment been so productive of wealth and fame as in this, and it is no undue encomium on the industry of the manufacturer to state, that the consumption at home and the demands from abroad have kept pace with the improvements which have increased both. ”

“ The art department proper I thought much inferior to that of the Tokyo Exhibition of 1890. Fine things there were, but few. Evidence, perhaps, of the eagerness with which the nation is turning all its energies and talents in directions where money is to be made; for in those larger departments where art is combined with industry,—such as ceramics, enamels, inlaid work, embroideries,—no finer and costlier work could ever have been shown. ”

“ A more general subject of interest is presented by the shops where is sold the porcelain-ware, the manufacture of which dates from a very remote period of Chinese history, and was already a flourishing trade at the commencement of our historic epoch. Indeed we may reasonably assume, notwithstanding the beautiful specimens of the art which from time to time are brought to light, that this special branch of industry is at present in a state of decline, while of many kinds of porcelain manufacture no examples can now be shown, as the secret of their manipulation has perished. ”

“ Little hard paste porcelain was produced in England, where bone china, a somewhat softer porcelain with calcined ox bone added to the paste, became a favorite material for expensive dinnerwares. Oriental influence on British ceramics was more immediately felt in the British decorative style, which through the nineteenth century continued to borrow heavily from the Chinese and Japanese. ”

“ Applied ornament of roughly modelled clay and scratched designs were the chief embellishments of such wares, which were of the same class as the medieval pottery of Great Britain and the north of Europe. In the 12th and 13th centuries, however, contact with Asia Minor, Syria, Egypt and Spain, where ceramic skill had been highly developed in fresh directions, as we have seen, introduced into Italy as well as the rest of Europe those superior wares characterized by a white surface decorated with bright colours under a brilliant transparent glaze, and glorified by metallic lustres. ”

“ The ceramics of England are of special interest to the American reader. In many of our old homes are to be found samples of English pottery and porcelain brought to this country long before Revolutionary{390} times. Many of them are, like heirlooms, passed on from generation to generation, the remnants being all the more highly prized as they become fewer in number. A great deal of the earthen-ware and porcelain used here within the last century has come from the centres of which we have been treating. To the student of the art, also, England has an interest all its own. ”

“ And admitting this fact, that the productions of ceramic art were thus allowed to find admittance, and, as it were, in some measure an equally distinguished position, amidst plate and objects of precious metals, it resulted that this new industry, supported by the best artists, soon became remarkable for works which were at the same time most beautiful and original. ”

“ The great expense attending the production of works of art is not, however, the only drawback with which the American manufacturer has to contend. It may, in fact, be said that the impediments to the rapid advancement of ceramic art in America have not yet been touched upon. They consist of neither the lack of capital, enterprise, experience, nor skill.
It is a singular fact that while native manufacture advances with rapid strides, and finds on all sides a public ready to give it a hearty reception, native art must force its way to recognition. ”

“ In the open air children are painting the cups. Each artist paints with his own colour and his own few strokes, whether a leaf, a tree, a man’s dress or beard, and passes it over to his neighbour, who in turn applies his brush to paint what is his share in the decoration.” Unfortunately there is no reason to suppose that the writer made his observations with an expert eye which would make a distinction between pottery and porcelain, but in any case it is certain that he found a vast ceramic industry in full blast at Tê-hua. ”

“ It would be difficult to overestimate the influence of Oriental porcelain on the European ceramic industry. Europeans greatly admired the hardness, whiteness, and thinness of the Chinese imports, and many of the most important developments in eighteenth and nineteenth century ceramic manufacture resulted from a conscious effort to imitate these qualities. Soft paste porcelain, made by adding glass to the clay body, was an early attempt to reproduce the porcelain paste itself. ”

“ It has been noted that during a certain period—namely, the 3rd and 2nd centuries b.c.—ceramic art had reached the same stage of evolution all round the Mediterranean, painted pottery had been ousted by metal-work, and such vases as continued to be made were practically imitations of metal both in Greece and Italy. These latter we must regard as representing ordinary household pottery, or as supplying to those who could not afford to adorn their houses and temples with costly works in metal, a humble but fairly efficient substitute. There is a terra-cotta bowl of the 2nd century b.c. ”

“ Besides this, we notice in the English céramiste a want of sincerity, with the result that at first sight you cannot tell what manner of substance you are looking at, whether it is porcelain or dirty ivory, or again a gilt ceramic ware rather than a bronze with a poor patina.’ A curious point in connection with this criticism is that, if I am not mistaken, a good deal of the work thus severely dealt with has been designed, if not executed, by French artists. It is made, however, to satisfy the demand of our great unleavened middle-class. ”

“ Manufacture of European porcelain had not ceased during the years British earthenware dominated the American ceramic market, but the nature of the product had changed considerably. The French porcelain industry, in particular, had evolved from a restricted craft patronized by royalty to a number of independently owned factories turning out standardized dinnerwares for the public taste. These relatively inexpensive wares appealed to Americans as well as Europeans, 22 and French porcelains were imported in quantity beginning around 1850. ”

“ But such obstacles as these add zest to the collector’s sport, and they are not really hard to surmount if a careful study be made of the character of authentic specimens. The eye can be easily trained to the peculiarities both of the originals and of the various imitative types, and no one who is prepared to take a little trouble need be afraid of attacking this fascinating part of Chinese ceramics. ”

“ COLOR AND CERAMICS The production of ceramics—perhaps the oldest of all the useful arts practised by man; an art with a magnificent history—seems to be entering upon a new era of development. It is more alive today, more generally, more skilfully, though not more artfully practised than ever before. It should therefore be of interest to all lovers of architecture, in view of the increasing importance of ceramics in building, to consider the ways in which these materials may best be used. ”

“ In Europe, where the value of the various ceramic productions has been more investigated than in the other parts of the world, there is hardly an amateur who does not recognize the superiority of a soft porcelain for decorated articles, and if the English china is not, properly speaking, as soft as the old Sèvres, it is certainly nearer to it than any other porcelain. ”

“ Fig. 337.
At the commencement of the eighteenth century, the ceramic art in this country was beginning to expand in a remarkable degree, and many important strides for its improvement were taken. The brown-ware dishes, tygs, and other vessels for domestic use, were still made as before, and stoneware bottles, ale pots, and other articles continued to be produced; but, beyond these, some much finer kinds of earthenware were introduced, which gradually took their place. ”

“ When we come to consider the various factories of porcelain that sprang up in Europe in the course of the eighteenth century, we shall find that what strikes the inquirer above all (in comparison with the kindred arts of the time) is the little we can observe in the way of development either in the technique or decoration of the wares. The art springs up full-blown; what history there is is concerned rather with an artistic decline. ”

“ Manufacture of high quality porcelain calls for considerable amounts of capital investment and working capital; small manufacturers produce too many second-rate pieces; thus we have here the first beginnings of an industry that developed industrial towns such as Ching-tê, in which the majority of the population were workers and merchants, with some 10,000 families alone producing porcelain. Yet, for many centuries to come, the state controlled the production and even the design of porcelain and appropriated most of the production for use at court or as gifts. ”

“ The manufacture of the greater number of these articles, if intended for persons of rank, did not fail to engage the industry of artisans and the talent of artists. Spoons, forks, nut-crackers, cruet-stands, sauce-boats, &c., furnished inexhaustible subjects for embellishment and chasing; knife-handles, made of ivory, cedar-wood, gold, or silver, were also fashioned in the most varied forms. Until ceramic art introduced plates more or less costly, they naturally enough followed the shape of dishes, which in fact they are, on a small scale. ”

“ Among London establishments who, from a long and intimate connection with some of the more eminent of our porcelain works, may almost be considered to be manufacturers, are the following. To these firms the world owes many of the most striking and beautiful of ceramic productions. These have been designed by the firms themselves, and made specially for them; they thus become literally their own productions. ”

“ It takes a vast number of workmen to manufacture all the clay products turned out in America. Remember dishes and ornaments are not the only things made. The industry is classified, and covers white earthenware, or the better qualities of imitation porcelain used by those who cannot afford the real ”

“ If, for instance, some of the highly advanced Alaskan tribes which do not make pottery should migrate to another habitat, less suitable to the practice of their old arts and well adapted to art in clay, and should there acquire the art of pottery, they would doubtless, to a great extent, copy their highly developed utensils of wood, bone, ivory, and basketry, and thus reach a high grade of ceramic achievement in the first century of the practice of the art ”